An individual who serves in more than one professional capacity is informally called a “hyphenate.” Some people, for example, are writer/directors, writer/producers, actor/producers, author/entrepreneurs, etc.
Let’s take a look at what it means to be a hyphenate, and the pros and cons of calling yourself one.
Title pages are important. They’re a reader’s first impression of your script and, as such, are the first indication of whether you’re a professional or amateur. Since there are a lot of opinions on this topic, let’s talk a little about what’s necessary and what’s not.
This is just a quick note to say that I strongly recommend checking out the Negotiations Special episode (#327) of The Writers Panel podcast, for anyone interested in what’s going on with the current negotiations between the WGA and AMPTP (and really, that should probably be everyone that reads this blog).
Ben Blacker talks with former WGA President Chris Keyser, as well as other guild members about what’s going on with the negotiations and the call for a strike authorization vote. It’s incredibly informative, and clearly addresses a lot of the questions and uncertainty that writers have over the upcoming vote.
In the entertainment industry, there’s a lot of talk about project attachments. So-and-so is attached to direct. Attached to star. Attached to produce. Attached to finance, distribute, represent as a sales agent, etc.
This post is a look at what those attachments are and what they mean for your project.
When writers are first starting out, they’re typically hired to work for a company like an employee might: they agree on what services will be provided for what pay, they’ll fill out a bunch of tax forms to get inputted into the company’s payroll system, and the payroll system will issue a check payable to the individual that deducts taxes and other withholdings.
At some point, though, writers may find it more beneficial to incorporate and loan their services out to the production company through an intermediary. This post will take a look at how that works and in what situations that might be preferable.
In my most recent post about writing credit, I mentioned that one of the perks of receiving screen credit on an original project that’s signatory to the Writer’s Guild of America is the screenwriter is entitled to something called separated rights. This post will take a look at what separated rights are and why they’re so important.
For screenwriters, writing credit is a big deal. It’s a significant milestone that separates you from the majority of other working and aspiring writers out there, and there are often considerable financial benefits tied to receiving writing credit. This post will look at how writing credit is determined and what benefits are typically connected with receiving credit.